The enigmatic and poetic American artist Albert Pinkham Ryder (1847-1917) is best known for the haunting landscapes based on historical and literary themes that he created largely during the 1880s and 1890s. Is it coincidental that two books on this artist have been published within months of each other after decades of relative neglect? In general, the two volumes are very similar in content and scope, with differences largely a matter of emphasis. In his highly detailed biography, Homer scrutinizes Ryder's work from art historical, technical, and conservation points of view, devoting more text than Broun to the conservation problems inherent in the artist's works and how conservation techniques have been employed to reveal Ryder forgeries. The discussion of the reworking and faking of Ryder's paintings is particularly fascinating. Fifteen of his most notable works are represented by color plates and are discussed in depth. Appendixes include a chronological checklist of Ryder's oeuvre as well as a wealth of primary source material. Homer has included the research of the late Ryder scholar Goodrich and the conservator Sheldon Keck as well as his own discoveries and observations. A scholarly yet handsome tome, this is the latest word on Ryder and is highly recommended for American art history collections. Broun's book accompanies a traveling exhibition of his works scheduled for 1990 and 1991. It places Ryder in a broader context by discussing the international "decorative movement" of the late 19th century in which Ryder actively participated and the work of artists influenced by him, including Arthur B. Davies and Marsden Hartley. Though it is as scholarly as Homer's, Broun's study is aimed at a slightly wider audience